The Restoration was a period surprisingly rich in fiction, and the period between 1660 and 1700 witnessed the decline of the epic and the birth of the English novel. Literature of the period became increasingly secular in response to advancements in science, philosophy, and exploration. With growing recognition of the power of print, literary works became increasingly targeted to the masses, rather than just to the educated members of the upper class. John Bunyan's classic tale of salvation, ^IThe Pilgrim's Progress^R, became one of the most widely read works of the last few centuries and has been translated into scores of languages around the world. In recent years, the writings of Aphra Behn have elicited a growing critical response and have led scholars to reassess the place of women in early modern England. But with the exception of Bunyan and Behn, the English novel written between 1660 and 1700 remains a comparatively neglected area. Nonetheless, many other authors produced works of fiction in genres such as the criminal biography, the Utopian novel, the scientific voyage to another world, and the heroic romance. This reference book establishes a list of novels that appeared between 1660 and 1700 and provides a comprehensive annotated bibliography of critical and scholarly studies. The first part of the book presents overviews of existing bibliographies, anthologies, and general contextual works on the early English novel. The second part of the book includes alphabetically arranged sections for individual authors of the period, listing editions and scholarly studies of particular works. A chronology lists the novels according to year of publication, and detailed indexes conclude the volume.

The English novel written between 1700 and 1740 remains a comparatively neglected area. In addition to Daniel Defoe, whose "Robinson Crusoe" and "Moll Flanders" are landmarks in the history of English fiction, many other authors were at work. These included such women as Penelope Aubin, Jane Barker, Mary Davys, and Eliza Haywood, who made a considerable contribution to widening the range of emotional responses in fiction. These authors, and many others, continued writing in the genres inherited from the previous century, such as criminal biographies, the Utopian novel, the science fictional voyage, and the epistolary novel. This annotated bibliography includes entries for these works and for critical materials pertinent to them.

The volume first seeks to establish the existing studies of the era, along with anthologies. It then provides entries for a wide-ranging selection of works which cover fictional, theoretical, historical, political, and cultural topics, to provide a comprehensive background to the unfolding and understanding of prose fiction in the early 18th century. This is followed by an alphabetical listing of novels, their editions, and any critical material available on each. The next section provides a chronological record of significant and enduring works of fiction composed or translated in this period. The volume concludes with extensive indexes.

This volume reproduces the piano score of the ballet La Source, a joint composition by Ludwig Minkus and Leo Delibes.After the success of Nemea (1864), the Paris Opera ordered a new grand ballet from the famous choreographer Arthur Saint-Leon to a libretto based on a Persian legend by Charles Nuitter. Saint-Leon involved his musical collaborator in St Petersburg, Ludwig Minkus, in the project, securing for him a hand in the composition of the first and fourth scenes of the of this new work, La Source, a fantastic ballet in three acts. The composition of the other two scenes (the second and third) were entrusted to the young, unknown Leo Delibes, thirty at the time, who had drawn favourable attention to himself in the preparation of the ballet music for the premiere of Meyerbeer's posthumous L'Africaine in 1865. The first performance of La Source was on 12 November 1866 at the Theatre Imperial de l'Opera, with the principal dancers Guglielmina Salvioni (Naila), Eugenie Fiocre (Nouredda) and Louis Merante (Djemil). The ballet as a whole was very successful, with 73 performances until 1876. Saint-Leon immediately began planning another work with Nuitter and Delibes-Coppelia-one which would crown the young French's composer's success with triumph. This was premiered on 25 May 1870, the last of Saint-Leon's work, and the last great success of the French Romantic ballet at the Salle Le Peletier before the crisis of the Franco-Prussian War, and the end of the Second Empire.As regards the music of La Source, Delibes's contribution to the score, his first essay at ballet music, was noted for its vigour and many delightful melodies. In Jouvin's opinion, his music was "vivacious and especially lively," and contrasted effectively with the plaintive melodies of Minkus. "The style of the two composers," observed the critic of La France Musicale (18 November 1866), "is essentially different and easily recognizable at a first hearing. M. Minkus's music has a vague, indolent, and melancholic character, full of grace and languor. That of M. Delibes, fresher and more rhythmic, is much more complicated in orchestration, and sometimes a little more ordinary. I should add that this difference in style is perfectly justified by the: contrasting character of the two parts of the ballet."

The two ballets in this volume, Paquita and Nuit et Jour, represent Ludwig Minkus (1826-1917) towards the end of his career in Russia, working at the peak of his creative powers. They are respectively the thirteenth and fourteenth collaborations between the Viennese composer and the famous choreographer of the Russian classical ballet, Marius Petipa (1819-1910).The Grand Pas, written for Petipa's revival of Deldevez's Paquita in St Petersburg in 1881, is well-known and loved, a jewel of the classical ballet repertoire in its own right. As an independent, abstract divertissement, the Grand Pas has remained popular with ballet companies and their audiences all over the world, but had not been seen outside Russia in its original context (as the climax of the concluding celebrations) before Pierre Lacotte's sensitive re-creation of the 1846 ballet in its entirety at the Paris Opera in 2001.The Grand Pas was designed for ballerina, premier danseur, six premieres danseuses and eight second soloists. Over the years, this Spanish flavoured piece has become a kind of miniature gala performance, with an array of solo variations that are particularly interesting not only for their choreography but also their occasional obbligato writing. Minkus had a talent in composing for the violin, his own special instrument-as can be seen in the sumptuous, extended adagio. His ballets also contain effective virtuoso pieces for the flute, harp, cello and cornet. The violin and harp solos were written with the talents of the famous violinist Leopold Auer and harpist Albert Zabel in mind, both of whom served as instrumental leaders in the St Petersburg theatre orchestras in the late 19th century.The contemporary manuscript piano arrangements reproduced here, repetiteur scores from the Soviet era, present a longer and a shorter version of the Grand Pas. They reflect the performing edition as it has variously evolved over the 130 years of its independent stage life on the Russian stages, and-through the agency of Anna Pavlova's travelling company in the 1920s-as also adapted by ballet companies across the world.The less familiar Nuit et Jour was created by Petipa and Minkus to mark the accession to the throne of Tsar Alexander III in 1883. It is an interesting development of the popular contemporary genre of abstract allegorical works, illustrating the movement of time through the day and the seasons of the year. The ballet depicts the innate beauties of both night and day (created by the great ballerinas Yevgeniya Sokolova and Yekaterina Vazem respectively), the daily struggle between darkness and light, and climaxes in an achievement of harmony in a dance of the nations. This is given a patriotic resonance by reflecting ten national types from the Russian Empire in a tour de force, testing the composer's skill in capturing the various national styles: Uzbek, Tartar, Siberian, Finnish, Cossack, Belarusian, Polish, Caucasian, and Ukrainian. The score reproduced here is the piano version published in both Hamburg and St Petersburg about 1885.